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PRESS
OPERA SAN JOSE
FALSTAFF
“As Alice Ford, the chief (though not the only) object of Falstaff’s amorous
attentions, Chanáe Curtis unleashed a soprano of lustrous beauty, singing
with elegant phrasing and quiet power.”
-JOSHUA KOSMAN, THE AN FRANCISCO CHRONICLE
OPERA SAN JOSE
FALSTAFF
“Soprano Chanáe Curtis gave a splendid performance as Alice Ford; singing with clarity and precision, she illuminated the role with pinpoint comic timing and gorgeous tone.”
-GEORGIA ROWE, BAY CITY NEW FOUNDATION
WOLF TRAP OPERA
L'AMANT ANONYME
“Chanáe Curtis’s gleaming Léontine rightly dominated the performance…Curtis boldly handled those demanding showpieces with aplomb; her large, warm soprano, secure throughout. I’ll be interested to follow the progress of this promising soprano.”
- CHRISTOPHER CORWIN, PARTERRE BOX
WOLF TRAP OPERA
L'AMANT ANONYME
“Soprano Chanáe Curtis, a returning Filene Artist, sang the role of Léontine, a widow who had sworn off love. Her vocals grew more assured as the night progressed, finally showcasing her beautiful coloratura in an aria that begins “Such is love’s power…”
- OPERAGENE
THE METROPOLITAN OPERA
PORGY AND BESS
"Lily and Annie, are strongly cast with Tichina Vaughn and Chanáe Curtis both making you wish they had more to sing."
- CLIVE PUGET, LIMELIGHT MAGAZINE
THE METROPOLITAN OPERA
PORGY AND BESS
Chanae Curtis (Annie) had lively, witty cameos.
- HEIDI WALESON, THE WALLSTREET JOURNAL
WELSH NATIONAL OPERA
THE CONSUL
"The soprano, Chanae Curtis, as Anna Gomez made brief, but notable contributions, possessing a fresh and attractive voice"
- OPERA WIRE
ROYAL WELSH COLLEGE OF MUSIC AND DRAMA
FALLSTAFF
"Chanae Curtis is a marvellous dramatic lynch pin as Alice Ford"
- ARTS SCENE IN WALES
ST MARTIN IN THE FIELDS
RECITAL
"Chanae Curtis has a truly superb voice: velvety caramel in tone. She also has a tremendous range of colour and force"
- THE CROSS-EYED PIANIST
WOLF TRAP OPERA
LA TRAVIATA
“Curtis showed off a warm, accurate, evenly produced soprano. She never stinted on expression, reaching an intense peak in the finale. After a subtly teary reading of the letter, Curtis offered a finely spun, sculpted “Addio del passato.”
-TIM SMITH, OPERA NEWS
OPERA SAN JOSE
FALSTAFF
“Alice Ford (the splendid soprano Chanáe Curtis). Alice feels the effects of her husband’s anxieties. Their impact was powerfully conveyed by Curtis as she read aloud Falstaff’s seduction letter; he offers her “un amor ridente” (a happy love) — something she clearly does not find with Ford. Curtis has sung other tragic women (such as Violetta in Verdi’s La traviata and Nedda in Ruggero Leoncavallo’s I Pagliacci); I hope someday to hear her again as the unhappy Countess in Mozart’s Le nozze di Figaro, a role Verdi surely had in mind as he wrote Falstaff.”
-NICHOLAS JONES, SAN FRANCISCO CLASSICAL VOICE
WOLF TRAP OPERA
LA TRAVIATA
“Violetta’s (Curtis) “È strano!...Ah, fors’ è lui” (“It’s strange! Perhaps he is the one”), delivered with ease and power, as well as a searing rendition of the duet, “Dite alla giovine, sì bella e pura”
-JEANETTE MULHERIN, MD THEATER GUIDE
OPERA SAN JOSE
FALSTAFF
“Falstaff’s nemesis, Alice Ford, provides a counterbalance. Played brilliantly by Chanáe Curtis, Mistress Ford possesses enterprise and quick wit to defeat him. Curtis exudes charm and a full range lyric soprano with considerable power in the mid and upper portions.”
-VICTOR CORDELL, CORDELLREPORTS.COM
WOLF TRAP OPERA
LA TRAVIATA
“As Violetta, Chanáe Curtis showed herself to be a magnificent singer as well as a convincing actress... Curtis threw herself passionately into Violetta’s plight and made us feel the full weight of her suffering.”
-EVAN TUCKER, WASHINGTON CLASSICAL REVIEW
WOLF TRAP OPERA
L'AMANT ANONYME
“Chanáe Curtis, a soprano originally hailing from Washington, D.C. sang Léontine with a noble and lyrical tone, backed up with gleaming high notes in her first aria in Act I. She added agility to the display in running passages for her Act II aria, sung as she adjusted her hair and makeup, waiting for the big reveal of the letter writer. Her French pronunciation, both spoken and sung, was clear and fluent.”
-CHARLES T. DOWNEY, WASHINGTON CLASSICAL REVIEW
WOLF TRAP OPERA
L'AMANT ANONYME
“As Léontine, the widowed aristocrat whose hapless marriage left her leery of love, soprano Chanáe Curtis sang with bright, centered tone and agile technique, especially in her second act aria, “Du tendre amour.”
-TIM SMITH, OPERA NEWS
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